Verdi’s Aida is an epic work, an emotionally-charged tragedy of forbidden love between Aida, an Ethiopian princess enslaved in Egypt, and Radamѐs, an Egyptian military captain. To unpack this grand opera, here is a brief history and description of the opera, followed by a synopsis of each Act.
Aida Quick Facts
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Commissioned by Cairo's Khedivial Opera House
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Premiered on December 24, 1871
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Libretto by Antonio Ghislanzoni
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The Met has performed Aida 1191 times
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Approximately 3 hours long
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The “Triumphal March” in Act II is the most famous melody in Aida. This march is used for the cheering of football teams around world
If you'd like to see the opera, I'd recommend catching the full performance on “Great Performances at the Met: Aida”, a recorded presentation of Metropolitan Opera’s January 2025 production on Friday, June 13, 2025 at 9:00 pm (ET) on WETA PBS, WETA Metro, or streaming anytime on the PBS App. This Met production offers a new staging by Michael Mayer that gives audiences the grandeur of ancient Egypt. Soprano Angel Blue made her role debut as Aida in this production conducted by the Met’s Music Director Yannick Nézet-Séguin. The opera is sung in Italian, with English subtitles. You might also enjoy my blog on WETA’s Classical Score in which opera scholar Saul Lilienstein and I discuss Aida in depth.
This powerful drama of forbidden love, jealousy and divided loyalties, is set against a backdrop of warring nations and is grand in scale, memorable for its melodies and gripping portrayal of human emotion and conflict. Aida, an Ethiopian princess enslaved in Egypt, and Radamѐs, an Egyptian military captain, are members of separate classes and warring nations, each loyal to country yet torn by love; it’s a tale that transcends patriotic sentiment. Adding to the richness of the story is the unrequired love suffered by Egyptian Princess Amneris, who is often considered to be the true heroine of the opera.
The genesis of Aida stems from a commission that Verdi received from the Khedive of Egypt to compose an opera for the grand opera house in Cairo, one that would be based on themes of ancient Egypt. By then, Verdi was at the height of his powers, widely respected as the composer of successes such as Nabucco, La Traviata, and Rigoletto. The libretto for Aida was written by Italian poet and novelist Antonio Ghislanzoni, based on a scenario by Camille du Locle and French Egyptologist Auguste Mariette. Aida premiered in Cairo in 1871, to great success.
With Aida, Verdi’s objective was to create a large spectacle along the lines of French grand opera, with lavish sets, elaborate costumes, large orchestra, dance and magnificent choruses -- as stunning visually as it is musically. Musically, it’s a tapestry of stirring and powerful arias, innovative harmonic language and new ideas and shapes, evidence of Verdi’s continuing evolution as a composer.
The backdrop to the composition of Aida was political upheaval in Europe, where nationalistic efforts sought to unify divided states and principalities, notably in Germany and Italy, into independent nations. Verdi supported the movement for Italy and became identified as the “Composer of the Revolution.”
This Met production includes soprano Angel Blue as Aida; Piotr Beczala as Radamѐs; Judit Kutasi as Amneris; Quinn Kelsey as Amonasro; Morris Robinson as Ramfis; and Harold Wilson as the King of Egypt. Of this production, Opera Wire wrote, “Angel Blue gave a beautiful interpretation of Aida, both vocally and with her physical embodiment of the character.” And of Judit Kutasi’s performance as Amneris, London’s The Times said that she possessed “a rich, imperious sound and a ferocious upper register.”
We hope you’ll tune in and enjoy this magnificent work!
Here is a detailed synopsis of each Act.
Act I
The setting is ancient Egypt. Egyptians have captured and enslaved Ethiopians, including the Ethiopian princess Aida and her father, Amonasro, King of Ethiopia. The leader of the Egyptian army, Radamѐs and Aida have secretly fallen in love, but must keep their love hidden due to their divided national loyalties and the ongoing conflict between their nations. Radamѐs secretly expresses his love with the famous aria, “Celeste Aida” (Heavenly Aida). Princess Amneris of Egypt is in love with Radamѐs views Aida as a rival for his love. The Ethiopians head to Egypt for battle and the Egyptians, led by Radamѐs, prepare for war. Aida is privately torn between love and loyalty to her home country of Ethiopia and her love for Radamѐs, as she sings “Ritorna vincitor” (Return a Conqueror!).
Act II
Princess Amneris, suspicious and jealous of the growing love between Aida and Radamѐs, tells Aida falsely that Radamѐs has been killed, a trick to force Aida to confess her love for Radamѐs. Furious, Amneris vows revenge against the lovers. Radamѐs and the victorious Egyptian army enter to a grand celebration from the Egyptian people, accompanied by the famous Triumphal March. The Egyptian King offers Radamѐs any prize for his victory; Radamѐs asks for the freedom of the Ethiopian slaves. The King grants the request but retains Aida and Amonosro as hostages. The King then decrees that his daughter, Amneris, will wed Radamѐs as a reward for his victory in battle. Aida despairs but her father vows revenge.
Act III
Alone at night, Aida sings “O, patria mia” (O, my dear country), sadly reflecting on her Ethiopian homeland that she will never see again. She waits to meet Radamѐs but her father, Amonasro, appears instead. He reminds Aida of her patriotic duty; he forces her to betray Radamѐs by obtaining information from him about the Egyptian army, which Amonasro intends to use against his Egyptian rivals. Radamѐs appears, promising to marry Aida. They decide to escape to the desert. At Aida’s urging, Radamѐs reveals the location of the Egyptian army. Amonasro emerges from hiding and tells Radamѐs that he will use that information against the Egyptians. Radamѐs realizes in horror that he has betrayed his country. He is immediately seized by the Egyptian authorities as a traitor. Radamѐs surrenders, while Aida and Amonasro escape.
Act IV
Radamѐs, now separated from Aida, is brought to trial on charges of treason. Amneris, still deeply in love with Radamѐs, urges him to deny the charges but Radamѐs refuses; he would rather die than live without Aida. The court condemns Radamѐs to death. Amneris begs the judges to spare his life, to no avail. Radamѐs is buried alive in a tomb but is soon joined by Aida so that they may be united in death. Together, they bid a poignant farewell to Earth and die peacefully in the final, moving duet, “O terra addio” (Farewell to Earth).
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